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House of Pinheiro's Work to Weekend Wardrobe: Sew your own capsule collection

House of Pinheiro's Work to Weekend Wardrobe: Sew your own capsule collection

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House of Pinheiro's Work to Weekend Wardrobe: Sew your own capsule collection

5/5 (1 valutazione)
356 pagine
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Jan 24, 2020


Revitalise your wardrobe with this capsule collection from sewing expert Rachel from the House of Pinheiro. The collection includes the perfect separates to take you through the working week to the weekend.

Rachel includes a main pattern for every day of week and then offers variations for how to dress it up for a meeting or down for the weekend. There will also be advice on how to change the look of the pieces through fabric choices and styling tips, as well as a techniques section featuring Rachel's tips on how to get the best fit for your body type.

Garments include on trend staples such as a jumpsuit, kimono dress and a trench coat. Rachel reinvents these basics to create an exciting collection of 7 patterns, which can be used to create numerous different outfits.
Jan 24, 2020

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House of Pinheiro's Work to Weekend Wardrobe - Rachel Pinheiro













Monday Back to Business Jumpsuit

Monday All Seasons Trousers

Tuesday Making it Work Dress

Tuesday Easy Breezy Dress

Wednesday Blazin’ Squad Trench Suit

Wednesday New Office Rules Trench Suit

Thursday Promotion Worthy Shirt

Thursday Office Goals Shirt-Dress

Friday Desk to Dusk Dress

Friday Quiet Confidence Button Top

Saturday Workhorse Tee Shirt

Saturday Turtleneck

Sunday Out of the Office Backpack

Sunday Get it Together Organiser


Pattern Index

About the Author



Sewing is the most wonderful skill to encourage personal growth which can be developed at your own pace–there will always be something new to learn. It’s a skill that empowers makers to use creativity, problem solving and curiosity.

The main idea behind this book was to create a collection of modern sewing patterns with enough design and construction flexibility to allow you, the maker, to decide how simple or complex your projects are depending on your mood, lifestyle and taste, as well as your energy levels and available time.

I wanted to bring you fun, rewarding and even slightly challenging projects. There are seven full size patterns with instructions for variations but I would like to invite you to go further and experiment with your own creations. I cannot wait to see what you will create!

Inspiration is all around us. I carry a little notebook where I try to draw the key design features that inspire me. Having a visual collage helps with creative flow and clarity when building a conscientious wardrobe. Each one of us will seek inspiration based on our personal taste, personality traits and lifestyle. As life will constantly drive change so our wardrobe must evolve.

This book works on a simple formula which allows ‘workhorse’ pieces to become big statement pieces simply by the choice of fabric.

I was inspired by items I often wear: clothes that have longevity and a high quality cut, which aren’t influenced by throw away fashion. Items you can reach for over and over again for a multitude of occasions. Needless to say, the patterns and variations in this book are there to be experimented with so you can create your own definition of style.


Gather all your supplies beforehand: the correct needles, threads, and all the necessary tools for each project.

Thoughtful selection of fabric beyond just the surface design.

Pre wash fabrics to avoid shrinkage.

Consider directional prints and nap (the pile of the fabric) when cutting out your fabrics.

Always respect the grainline.

Sample, sample, sample. If there is one thing that I really want you to remember from this book it is the importance of preparation before you start a project.

Cut fabric using long, smooth strokes, using the whole length of the blade. On curved areas use short snipping movements.

Mark all your notches. Notches are there to show you where to match the pattern pieces. To make a notch cut 3mm (¹⁄8in) into the seam allowance taking care to not do it too deeply.

When dealing with tricky fabrics that tend to fray or have a loose weave, draw the triangles of the notches outwards and cut them whole. You can trim them when you finish the edge of the seams.

Label all the pattern pieces using low adhesive tape or washable pen.

Use new needles and make sure your sewing machine is clean before you start sewing.

The accuracy of the seams is really important. Use your machine plate or the presser foot to guide you.

Always start sewing with the needle down, this allows you to anchor the garment before adjusting the fabric and presser foot as you sew.

Hold both the top and bobbin thread before you start sewing.

Your hands are for guiding the fabric–let the machine do the hard work. Your hand positions will become natural the more you practice.

When sewing, the volume of the fabric should be to your left unless you are setting in a waistband in which case it should be to the right of the presser foot.

Don't forget to backstitch your seams. Sew 10mm (³⁄8in) forward and then reverse the same distance and then start sewing forward again.

If you have sewn over your pins throw them away along with your needle. It’s likely that you have damaged them.

If the fabric is getting caught when you start sewing, try starting 5mm (³⁄16in) from the edge of the fabric, reverse back to the edge and continue sewing on top of the previous stitches.

Don't let fabrics hang off the table when sewing. Fold them into pleats or a manageable bundle.

When you are sewing, only speed up when you are sewing long straight seams. Use the hand wheel to go over bulky seams and sew slowly around curves.

When things aren’t working, go and make a cup of tea. Don’t sew when you are feeling frustrated or rushed.

Keep a few projects on the go that require different levels of attention. Leave the challenging projects for when you are alert and the quick jobs for when you are short of time or tired. This will help to keep mistakes to a minimum and satisfy your sewing cravings.

Press after every seam.

Keep a sample book to write down all your successes and disasters, as well as notes about lessons learned, interfacing, stitch settings etc.

Last but not least: keep your work tidy as you sew.



The weight and characteristics of your fabric will determine the size of needle and type of thread to use. Matching all of these components with the best stitch length will make your garment look professional and last for longer.


The way needles are labelled can be confusing. Each number represents a measurement. The first number is the diameter in millimetres multiplied by 100. The second measurement dates back to the Singer system and represents the same thing.

The easiest way to remember it is that smaller numbers will make smaller holes and therefore are more suitable for delicate fabrics such as chiffon, organza, lace and voile. As the number increases, so does the weight of the corresponding fabric. Medium-weight fabrics like cotton, tweed and linen will need a slightly larger size, and so on for heavy-weight fabrics like denim and wool.

As a guide, I recommend owning a selection of 70/10, 80/12 and 90/14 universal packs. For delicate fabrics I suggest using Microtex needles, as they have a longer, deeper scarf (the groove on one side of the needle).


When choosing threads, as well as matching colour, consider the weight, thread count and fibre content. Matching the fibre content with your fabric is really important to maintain the quality and integrity of your garment. For example, if you sew a linen dress using polyester thread, your seams will pucker after washing. This is because the fabric will shrink but the thread won’t.

The thicker the thread, the stronger the seam and stitch visibility. To identify thread weight, a quick rule of thumb is that the higher the number, the finer the thread. Thread count relates to the weight in grams and, again, a larger number indicates a larger size. Thread counts are often defined by their Tex or Decitex (dtex) sizes.

You will probably be using threads with a weight of 120 or 180, and count of Tex 30 (or dtex 300), for the projects in this book, depending on your fabric.


Fabric is a combination of sets of threads woven vertically (warp) and perpendicularly (weft) and selvedge is the edge. The following terms are often used when referring to fabric.

Warp: Threads woven lengthwise in fabric; vertical, length of the fabric. Doesn’t stretch when pulled, and is therefore much stronger.

Weft: Threads woven crosswise in fabric; horizontal, width of the fabric. Will give when pulled.

Selvedge: The edge of the fabric. It is generally denser and prevents the fabric from fraying during the manufacturing process. The strongest yarn will be in the warp while the complementary yarn will be in the weft.

Grainline: The grainline is the same direction as the warp or selvedge. Projects cut without paying attention to the grainline markings won’t drape or fit correctly. Puckers and diagonal wrinkles will appear when the fabric is laid flat and basted together.

Straight grain: When the grainline is parallel to the selvedge, so the grain runs in the same direction as the warp.

Cross grain: Perpendicular to the selvedge, either as a design element or to cut patterns where the height of the fabric wouldn’t be enough to cut on the straight grain.

Bias or true bias: A 45 degree angle from the selvedge.


Puckers and wrinkles will appear when fabric is laid flat if both the warp and weft are slanted and this must be fixed before cutting. The following methods are suitable for woven and knit fabrics:

Cutting method: Snip the edge of the selvedge. Use fabric design elements like stripes as a guide. Pull a few weft threads out and pick a crosswise thread to pull. Pull it slowly, letting the fabric slip along. On the right side of the pulled thread, remove the excess fabric.

Pressing method: Fold the fabric in half lengthwise, right sides together. Secure the selvedges together at the cross-side end with pins or basting stitches. With a damp cloth on top, press with steam, moving the iron along the lengthwise grain and avoiding the crease at the centre of the fold.


There is nothing as frustrating as encountering preventable issues on a garment that you

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